PRICE, 1 5 CENTS PEE COPY 



AMES’ SERIES OF 

STANDARD AND MINOR DRAMA. 3 

NO. 128. 

. 219(2 3 3 9 ’ 


MUSICAL DARKEY. 


WITH CAST OF CHARACTERS, ENTRANCES, AND EXITS, RELATIVE POSITIONS 
OF THE PERFORMERS ON THE STAGE, DESCRIPTION OF COS¬ 
TUMES, AND THE WHOLE OF THE STAGE BUSINESS, 

Carefully marked from the 

MOST APPROVED ACT¬ 
ING COPY. 


>< lJ... 


- 5 a 


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1 » r* 


v> a 


a - 


e;«»s 



CLYDE, OHIO: 

A. D. AMES, PUBLISHER. 





R CATALOGUE FREE TO ANY ONE. 












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AMES’ SERIES OF- ACTING PLAYS. 


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PRICE FIFTEEN CENTS EACH—CATALOGUES FREE. 




NO. 

12 

30 
2 

75 

80 

39 
78 
15 
05 

31 
21 
43 

123 

73 
20 

12o 

100 

89 

8 

98 
113 

80 

14 

22 

84 

49 
72 

19 
42 
GO 
27 
13 

117 

50 
24 
GO 

110 
52 
17 
103 
70 

74 
35 

20 
47 
95 
77 
11 

99 
82 

9 

3 

101 

100 

40 
91 
3G 
88 
34 


x. r. 


A Capital Match, farce, 1 act, by J. M. Morton.. 

A Day Well Spent, farce, 1 act, by John Oxenford. 

A Desperate Game, comic drama, 1 act, by Morton.. 

Adrift, temperance drama, 3 acts, by C. W. Babcock, M. D. 

Alarmingly Suspicious, comedietta, 1 act, J. P. Simpson_ 

A Life’s Revenge, drama, 3 acts, by W. E. Suter 


An Awful Criminal, farce, 1 act, by J. Palgrave Simpson. 

An Unhappy Pair, ethiopian farce, 1 act, by G. W. H. Griffin. 

An Unwelcome Return, com. intl’d, 1 act, by George A. Munson_ 

A Pet of the Public, farce, 1 act, by Edward Sterling.. 

A Romantic Attachment, comedietta, 1 act, by Arthur Wood. 

Arrah DeBaugh, drama, 5 acts, by E. C. Kinnaman. 

A Thrilling Item, farce, 1 act, by Newton Chisnel.. 

At Last, temperance drama, 3 acts, by G. C. Vautrot. 

A Ticket of Leave, farce, 1 act. by Watts Phillips. 

Auld Robin Gray, emo. drama, 5 acts, Malcolm Stuart Taylor, 25 cents 

Aurora Floyd, drama, 2.acts, by W. E. Suter.... 

Beauty of Lyons, dom. drama, 3 acts, by W. T. Moncrieff. 

Bett r Half, comedietta, 1 act, by T. J. Williams.. 

Black Statue, ethiop 'an farce, 1 act, by < White. 

Bill Detrick, melodrama, 3 acts, by A. Newton Field. 

Black vs. White, farce, 1 act, by George S. Vautrot. 

Brigands of Calabria, rom. drama, 1 act, W. E. Suter. 

Captain Smith, farce, 1 act, by E. Berrie. 

Cheek will Win, farce, 1 act, by W. E. Suter. 

Der two Surprises, Dutch farce, 1 act, by M. A. D. Clifton. 

Deuce is in Him, farce, 1 act, by R. J. Raymond. 

Did 1 Dream it ? farce, 1 act, by J. P. Wooler.. 

Domestic Felicity, farce, 1 act, by Hattie L. LamblaA. 

Driven to the Wall, play, 4 acts, by A. D. Ames... 

Fetter Lane to Gravesend, ethiopean farce. 

Give me my Wife, farce, 1 act, by W. E. Suter. 

Hal Hazard, military drama, 4 acts, by Fred. G. Andrews. 

How She Has Her Own Way, sketch in 1 act, by Ida M. Buxton_ 

Handy Andy, ethiopean farce, 1 act. 

Hans, the Dutch J. P., Dutch farce, 1 act, by F. L. Cutler. 

Hash, farce, 1 act, by W. Henri Wilkins. 

Henry Granden, drama, 3 acts, by Frank L. Bingham. 

Hints on Elocution and how to become an Actor. 


3 
7 

3 
G 

4 
7 5 
3 3 


How He Did It, comic drama, 1 act, by John Parry.. 

How to Tame Your Mother-in-law, farce, 1 act, by H. J. Byron .. 

How Stout You’re Ge ting, farce, 1 act. by J. M. Morton. 

Hunter of the Alps, drama, 1 act, by Wm. Dimond. 

In the Wrong Box, ethiopian farce, * act, by M. A. D. Clifton... 

In the Wr mg Clothes, farcb, 1 act. 

Joe's Visit, Ethiopian farce, 1 act. by A. Leavitt and H. Eagan.. 

John Smith, farce, 1 act, by W. Hancock. 

Jumbo Jam, farce, 1 act. 

Killing Time, farce, 1 act. 

Lady Audley's Secret, drama, 2 acts, by W. E. Suter.. 

Lady of Lyons, drama, 5 acts, by Buhver. 

Lost, temperance drama, 3 acts, by F. L. Cutler.. 

Lodgings for Two, comic sketch, 1 act, by F. L. Cutler. 

Man and Wife, drama, 5 acts, by 11. A. Webber.. 

Michael Erie, dram i, 2 acts, by Egerton Wilks.. 

Miller of Derwent Water, drama, 3 acts, by E. Fitzball. 

Mischievous Nigger, Ethiopian farce, 1 act, by C. White. 

Mistletoe Bough, melodrama, 2 acts, by C. Somerset. 


3 

4 


Catalogue continued on next page of cover. 


1 

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11 

5 

3 
G 

4 
G 
3 


11 3 


2 

3 

8 

1 

2 

3 

4 


11 8 


IIo.v Sister I‘. got Child Baptized, ethiopean farce, 1 act. 2 


11 5 
G 2 

3 0 
11 7 

8 3 
5 2 

4 2 
7 3 


1 
1 
2 
3 
5 
1 
1 
2 
3 

3 
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2 
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1 
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3 0 
1 1 
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THE MUSICAL DARKEY. 


A FARCE 


IN ONE ACT, 


BY 


F. L. CUTLER, 


AUTHOR OP 

Hans, the Dutch J. P.: Lost, or the Fruits of the Glass; Lodgings 
for Two; That Boy Sam; The Sham Professor; Old Pompey; 
Cuff’s Luck; Wanted, a Husband; Happy Frank’s Comic 
Song and Joke Book; Actor and Servant; Pomp’s 
Prank’s; Seeing Posting, etc., etc. 


Eyitered according to’act of- tress in the year 188 4, by 

A. D l a AES, 

in the office of the Libarian of Congress, at Washington . 



—x 



-CLYDE, OHIO! —- 

A. D. AMES, PUBLISHER 








THE MUSICAL DARKEY. 


CHARACTERS. 

As first performed at Modale, Iowa. 


■Grouty. E. M. Marvin 

Pomp.. .. . F. L. Cutler 


Scene— Cottage interior, with table, chairs, etc. 


Properties—Two bottles —papers—musical instruments adlib • 












Time of representation—Thirty minute*. 








The Musical Darkey. 


SCENE T.—Plain interior; chairs, table , etc. Grouty discovered seated tin 

chair, l. 

Grouty. It does seem strange that I can get no one to wait on me. The 
whole house is upside down, and help of all kinds is as scarce as hen’s 
teeth. I would not care so much about it if it was not for these bad spells 
I am subject to—they take me sometimes when I am least expecting them, 
and for a short time I do not know what I am doing. And I have made 
enemies of my best friends ; for I suppose l do a great many things that I 
would not do if I were in my right mind. But I must get along the best I 
can, for it seems there is nobody in these parts wanting employment, 
(i looks around) I wonder what I done with those morning papers? (exit, a. 

Enter Pomp, l., with bundle, which he lays down, and looks around. 

Pomp. I guess dis mus’ bede place. But dar don’t seem to be any ob 
de family in. I guess dis place is gwan to suit me. Seems to be a kind ob 
a high toned lookin’ outfit, shuah. (sings) “Sally come up,” etc. (spoken) 
Dat reminds me ob dat new song I’se been a practicing. Guess I’ll try dat 
now while I fink ob it. (introduce sono and dance if performer chooses) 
Dat’s a pretty good song, but den I knows lots ob ’em. I s’pects my lug¬ 
gage am all smashed up widde ’spress men an’ de smashers. Guess I’d 
better look it ober. (goes l., sits in chair, takes up bundle and examines it 

% 

Enter Grouty, r., goes r. f. 

Grouty. Its strange where those papers are. (puts his hand to his head) 
How strange I feel. Oh! Oh-o-ol. 

Stands still, rolls his eyes, shuts and opens his hand, twitches his shoulders and 

arms. 

Pomp, (discovers him) How-dy! Ilow-dy do, sar. (bows) I’m pretty 
well. How are you? (looks at Grouty in astonishment) Why, say ! Why, 
why, say— (walks around him) Why, say, what de dickens ails dat feller, 
anyway? (shouts) Say, you! Well, if dat don’t beat all my first wife’s 
relations. Guess he mus’ hab de delirum tremendous, (shouts) Say, boss, 
how long you been dat way ? 



4 THE MUSICAL DA I! KEY. 

Taken Grouty by the shoulders and shaken him, Grouty suddenly strikes out 
with both arms, strikes Pomp, ivho fall o., and lays perfectly still ; Grouty 
puts his hand to his forehead and looks around. 

Grouty. How came I here ? Oh, I remember, I was looking for the 
morning papers, and I must have had one of my spells. [exit, R. 

Pomp, {slowly getting up) I wonder did de lightning strike anybody 
else ? 

Enter Grouty, r., with papers , sits R. 

Grouty. I see by the morning papers that there has been another large 
strike in the east. 

Pomp, {discovers him) Ya’as, an’ dar’s been a pretty heaby strike in 
de west. (rubs his head 

Grouty. (looking around in astonishment) Who the deuce are you, and 
what are you doing here ? (shakes him) Speak, sir! 

Pomp. ( trying to get loose) Hole on dar, boss; better shook yerself loose 
dar afore somebody gets hurt, (grouty loosens him—Pomp aside ) Dat’s de 
same feller dat was in hyar when I got struck wid de lightning. 

Grouty. Well, sir, I am waiting to know who you are, and what you 
are doing in my room ? 

Pomp. Well, I’ll tole you how it was, boss. You see I picked up a copy 

ob de Times, an’ in lookin’ ober de advertisements I seed- 

Grouty. Oh, I understand, you saw my advertisement and have come to 
Wait on me. 

Pomp. Yes, an’ 1’se commenced business already. 

Grouty. How’s that? 

Pomp. Why, you see I’se been a waitin’ nmv about free hours. Been 

struck by lightning, knocked down an’ dragged out, an- 

Grouty. Weil, well, never mind. Whut are your terms? 

Pomp, (searching pockets) By golly, boss, I don’t believe I’se got ’em 
wid me. 

Grouty. Oh, I mean what wages do you want? 

Pomp. Oh, well, boss, seein’ as its you, I’ll work for you cheap. Say 
about seventy-five dollars a month. ( strikes attitude 

Grouty. Seventy-five? Nonsense. Now see here, I’ll tell you what 
I’ll do with you. I’ll give you five dollars a month and find you. 

Pomp. An’ gib me all I wants to eat? 

Grouty. Certainly. 

Pomp. An’ find me ? 

Grouty. Of course. 

Pomp . ’Nuff said, boss, I’ll take it. (aside) By golly, if he gibs me all 
I wants to eat I’ll get de worth ob my money. 

Grouty, (aside) Well, after all my trouble I believe I have a man that 
will suit me. (aloud) Well, sir, you can commence your duties at once. 
But first, what is your name? 

Pomp. My name am Snowball Charles Augustus Pompey High-Flyer 
Johnsing, commonly called Pomp for short, ’ceplin’ on Sunday ebenin’s, 
when I goes to see my- 

Grouty. Well, never mind now. I will give you some instructions in 
regard to your duties. 

Pomp. Nebber eat any ob dem fellers. 

Grouty. Who said anything about eating? Now in the first place I 
want you to attend to this room, keep it neat and clean. Carry water. 
(Pomp starts off l.) Hold on, you needn’t bring any now. Run errands, 

and—— 

Pomp. Who’s he? Am he pretty fast? 

Grouty. Fast ? What are you taking about ? 

Pomp. Why, Ole Errands. You said you wanted me to run him ; but 
I’ll tell you what’s de matter, boss, 1’se kinder out ob practice, but den I’ll 
do de best I can under de sucemstances. 





THE MUSICAL DARKEY. 


5 


Grouty. Ob, pshaw, you don’t understand me. But never«nind. Then 
I wish you to wait on me—give me medicine- 

Pomp. Medicine? 0, you’se sick, is ye ? 

Grouty. Yes, I am subject to some very peculiar attacks, and that is 
why 1 wish some one always close at hand. 

Pomp. Ya’as, I’se been dar. 

Grouty. Been where? 

Pomp. Close to your han’. Got mos’ too close. (rubs his eye 

Grouty. I don’t understand you, but no difference, I will proceed. 
When these spells come on me I want you to give me medicine. Just stop 
into the other room and you will find a couple of bottles on the table, 
bring them here. ( Pomp goes r., gets bottles, sets thefn on the table, goes r,.) 
Now pay close attention 'to what I say. 

Pomp. I’se a listenin’. 

Grouty. Now if, when I have an attack, I should shake my head this way 
—(illustrates )—give me some of the contents of this bottle. ( points) And 
if I should throw my arms this way, give me some of the contents of this 
bottle. ( points 

Pomp. What! boff of dem fellers filled wid contents. 

Grouty. And if I should kick about with ray legs in this way—( illus¬ 
trates) —give me a little from both bottles. Now do you understand ? 

Pomp. Less see. ( goes to table, Grouty goes r., takes up paper and reads; 
moves his head from side to side, then points to bottle, throws his arms about 
and points to other bottle, kicks out his feet, points to both bottles, nods his 
head ) Yes, I’se got dat. Gib us somefin’ hard. 

Pomp goes behind Grouty, looks over his shoulder, he yawns, throws up his 

arms, strikes Pomp, who falls. 

Grouty. What in the world was that? 

Pomp. ( getting up) Oh, nuffin’, I guess somefin’ dropped. 

Grouty. I want you to go down to the kitchen and tell the cook that I 
want an early supper. 

Pomp. All right, massa. {exit, L. 

Grouty. I believe I’ll have a little music to pass away the time. 

{goes R., returns with violin, tunes up and plays 


Enter Pomp, L., grins, dances a step or two, runs off l., comes back with violin 

or guitar box. Sits l. 

Pomp. Dat feller finks he’s some. He’ll find dar’s odder musicianers 
in dese parts ’sides him. {opens box, takes out jews harp—plays 

Grouty, {looks around — astonished) What in the name of common 

sense have you got there? 

Pomp. Dat ’ere am one ob de sweetest an’ mos- 

Grouty. Nonsense. Don’t bother me, I wish to practice a few new 
tunes. {plays 

Pomp, {aside) He don’t seem to ’preciate my music—a’pects it wasn’t 
loud enough. I knows what will suit him. 

{takes out box l., brings in sack and takes tin flute from it—plays 
Grouty, {stops) What have you got there now? A little boy’s toy. 
Put it down. {plays 

Pomp, {puts flute in sack) Nuffin’ seems to suit him. {listens) By 
golly, can’t stand dat no how. 

{runs off with sack, l., comes back with carpet bag, takes out bones—plays 
Grouty, {stops) Good gracious, you’ll set me crazy with your infernal 

racket. Give us a rest. 

Pomp, {grinning) Don’t know de rest. 

Grouty. You blockhead! 




e 


THE MUSICAL DARKEY. 


Pomp. (holds up bones) No, sar, clem ain’t blocked out ob nobody’s 

head, dey is de genuine- 

Grouty. Well, never mind, put them up. 

Pomp puts away bones f Grouty plays, Pomp runs off L. and gets harmonica, 

and plays accompaniment. 

Grouty. (pleased) There, that is better—there’s some music in that. 

But how comes it that you don’t play the banjo? I thought- 

Pomp. Dat's wat's de matter. I done forgot all about dat banjo, boss. 
l*Be got one out here in my luggage. 


Pomp gets banjo and they both play. Grouty stops playing and, Pomp puts 
banjo away, l. ; Grouty plays jig, Pomp runs in with tambourine and plays 
extravagantly; Grouty stops, holds his ears, Pomp keeps on playing ; Grouty 
shakes his fist at him and runs of, r.; Pomp misses Grouty, stops playing, 
looks around, under the table, chairs, into bottles, on table, etc. 

Pomp. Why, whar—de—whar dat fellar got to? He raus’ have cleared 
out. Guess he lot before he got trough wid dis nigger dat he was a 
whole brass band, drum an’ all. Hi, golly, he don’t know nuffin’ ’bout dis 
nigger. He jes’ ought to see me walk down to de front ob de lulpit an dis¬ 
course like dis: Ladies and gentlemen, it is wid feelin’s, etc. 

(a negro sermon may be introduced 

Enter Grouty, R., seizes Pomp and throws him off L. 

Grouty. You fool you, don’t you see that I’m most distracted. Come, 
get out of this before I hurt you. 

Pomp. Hurt who? 

Grouty. Hurt you. 

Pomp. Who’s goin’to do it ? 

Grouty. I will if you make any more disturbance. 

Gomp. Oh, you’se one ob dem kind ob fellers, is ye? Well, dat’s me. 

Takes off coat, blows up muscle, etc., spars of at Grouty, who starts towards 
him, stops, puts his hand to forehead, staggers, drops into a chair , r., jerks 
and twitches arms and legs, rolls his eyes, etc. Pomp spars around — stops. 

Pomp. Want to fight sottin’ down, do you. Well, dat’s me. 

Pomp gets chair, sits it down in front of Grouty, as he goes to sit Grouty kicks 

chair away, Pomp falls. 

Pomp. Hold on, boss, don’t hit me again—I’se whipped. Gosh, but dat 
was a ferriferous lick. (looks at Grouty) I guess I ain’t whipped arter all, 
by de way dat feller acts. I mus’ hab got in one on his bugle afore he got 
me down. He don’t come to time. Golly, but dat was a ferriferous fight, 
an’ Pse de boss chicken—game to de backbone. Pound me all to pieces an’ 
I’se still dar. Say, you—you—- ( goes up to Grouty ) Why say, what ails 

you? (shakes him) Golly, but I mus’ hab struck him an awful lick. But 
say. Seems to be somefin’ de matter wid him. ( starts) Dat’s wat’s de 
matter wid him, nebber fought ob dat. I’ll bed he’s got one ob dem ’tacks 
he toie’bout, {goes up and looks him in the face) Yes, sar, he’s got ’em, 
euah. Less see, he said if he rolled his head dis way to gib him some ob 
dese contents, an’ if he flipped hisself dis way to gib him some ob dose con¬ 
tents, an’ if he done so-so, to gib him contents, etc. Yes, dat’s it. 




TEE MUSICAL DARKE T. 


4 


Takes bottle, pours some o/ the contents into Grouty's mouth, looks at him a 
moment, takes the other bottle and gives him a dose. 

Pomp . Too much walkin’ about dat business. 

Takes both bottles, sits on Grouty's lap , gives him from each bottle alternately, 
all the while talking about the fight, five dollars a month, etc.; gets careless 
and spills medicine on Grouty’s face; commences to give as fast as he can. 
Grouty comes too, sputters, spits, throws Pomp of, seizes chair, drives Pomp 
of u 


CURTAIN. 

Note. —The performer can substitute any other musical instruments 
wished in place of the ones mentioned, or leave out part, or all of them, 
without marring the play. Avtho a. 




THE LATEST NEW PLAY 


i=% JUST ISSUED AND NOW READY. ^ 

PRICE 25 CENTS. 


HAL HAZARD, 

OR THE FEDERAL SPY! 


A Military Drama of the late war of the Rebellion, 

in four acts, by 


Fred G. Andrews 


This drama is a great success, and is published now for the first 
time, from the author’s original manuscript. There has been a de¬ 
mand for a play which could be used by Grand Army Posts, Mili¬ 
tary Companies, etc., which would be effective, and yet not difficult 
to represent. This want Hal Hazard will supply. 

It has eight male characters and three* female. A few soldiers, 
both U. S. and C. S., may be used, but there is no elaborate drills 
or difficult stage business to try the patience of the manager. It 
takes from \% to 2 hours to present it. 

The leading character is a double one. “George Clarendon,” 
who assumes the character of “Old Hal,” a very deaf and shrewd 
old man, who is equally at home in the Confederate or Federal 
Camp. As the Spy he is always on hand at the proper time, and 
always comes out ahead in all places where his services are needed. 
The other characters are all good, consisting of a Captain and Lieu¬ 
tenant in the U. S. Army, and four Confederates. Generals Sher¬ 
man, Stoneman and Garrard are represented, but may be omitted if 
desired. There is also an excellent Leading Lady, Old Woman and 
Negro Comedy Woman. 

We think those who order and produce this play will be more 
than pleased. Address your orders to 

A. D. AMES, PUB., 

CLYDE, OHIO. 


LOCK BOX d02. 













AMES’ PLAYS—Continued. 




NO. 

09 

1 

23 

32 
90 
61 

37 

44 
81 

33 

109 
126 

83 

83 

53 

57 

29 

114 
18 
51 

110 

45 

96 
59 
48 

107 

115 
15 
94 
25 
79 
92 
10 
02 
04 
40 

38 
87 

1)1 

07 

97 
119 


93 

112 

118 

71 

16 

08 

0 

102 

54 

7 

28 

108 

03 

105 

4 

5 
50 
41 
70 
58 

111 


Mother’s Fool, farce, 1 act, by W. Henri Wilkins. 

Mr. A: Mrs. Pringle, farce, 1 act, by Don T. Do Treuba Cosio. 

My Heart’s in the Highlands, farce, 1 act. 

My Wife’s Relations, comedietta* 1 act, by Walter Gordon. 

No Cure No Pay, Ethiopian farce, 1 act, by G. W. H Griffin. 

Not as Deaf as He Seems. Ethiopian farce. 1 act. 

Not so Bad After All, comedy, 3 acts, by Wybert Reeve. 

Obedience, Comedietta, 1 act, by Hattie L. Gambia. 

Old Phil’s Birthday, drama, 2 acts, by J. P. Wooler. 

On the Sly, farce, 1 act, by John Madison Morton. 

Other People's Children, Ethiopian farce, 1 ;.ct, by A. N. Field. 

Our Daug iters, society comedy, 4 acts, by Fred L. Greenwood. 

Outcast’s Wife, drama, 3 acts, oy Colin H. Hazelwood. 

Out on the World, drama, 3 acts.. 

Out in the Streets, temperance drama. 3 acts, by S. N. Cook. 

Paddy Miles’ Boy, Irish farce, 1 act, by .fames Pilgrim. 

Painter of Ghent, play, 1 act, by Douglass Jerrold. 

Passions, comedy, 4 acts, by F. Marmaduke Dey. 

Poacher’s Doom, domestic dram *, 3 acts, by A. D. Ames. 

Rescued, temperance drama, 2 acts, by C. 11. Gilbert. 

Reverses, domestic drama, 5 acts, by A. Newton Field. 

Rock Allen the orphan, drama, 1 act, by W. Henri Wilkins. 

Rooms to Let without Boaid, Ethiopian farce, 1 act. 

Saved, temperance sketch, 1 act, by Edwin Tardy. 

Schnaps, Dutch farce, 1 act, by M. A. D. Cliftton. 

s chooi, Ethiopian farce, 1 act, by A. Newton Field. 

S. H. A. M. Pinafore, burlesque, 1 act. by W. Henri Wilkins. 

Somebody’s Nobody, farce, 1 act, by C. A. Malt by.. 

Sixteen Thousand Years Ago, Ethiopian farce, 1 act. 

Sport with a Sportsman, Ethiopian farce, 1 act. 

Spy of Atlanta, military allegory, 6 acts, by A. D. Ames, 25 cents... 

Stage Struck Darkey, Ethiopian farce, 1 act. 

Stocks Up, Stocks Down, Ethiopian farce, 1 act. 

Ten Nights in a Bar Room, temperance drama, 5 acts. 

That Boy Sam, Ethiopian farce, 1 act, by h\ L. Cutler. 

That Mysterious Bundle, farce, 1 act. by II. L. Lambla. 

The Bewitched Closet, sketch, 1 act, by II. L. Lambla. 

The Biter Bit, comedy, 2 acts, by Barham Livius. 

The Coming Man, farce, 1 act, by W. Henri Wilkins. 

The False Friend, drama, 2-acts, by George S. Vautrot. 

'1 he Fatal blow, me.odruma, 2 acts, by Edward Fitzball. 

The Forty-Niners, or The Pioneer’s Daughter, border drama, 5 acts, 

by T. W. Hanshew. 

The Gentleman in Black, drama, 2 acts, by W. II. Murray. 

Tiie New Magdalen, drama, pio. 3 acts, by A. Newton Field. 

The Popcorn Man, Ethiopian farce, 1 act, by A. Newton Field. 

The Reward of Crime, drama, 2 acts, by W. Henri w ilkins. 

The Serf, tragedy, 5 acts, by R. Talbot. 

The Sham Professor, farce, 1 act, by F. L. Cutler... 

The Studio, Ethiopian farce, 1 act... 

Turn of the Tide, temperance drama, 3 acts, by W. Ileuri Wilkins.. 

The Two T. J’s, farce, 1 act, by Marlin Beecher. 

The Vow of the Omani, drama, 3 acts, by J. N. Gotthold. 

Thirty-three next Bir thday, farce, 1 act, by M. Morton. 

Those Awful Bovs, Ethiopian farce, 1 act, by A. Newton Field. 

Three Glasses a Day, temperance drama, 2 acts, W. Ilcnri Willdns.. 

Through Snow and Sunshine, drama, 5 acts. 

Twain’s Dodging, Ethiopian farce, 1 act, by A. Newton Field. 

When Women Weep, comedietta, 1 act, by J. N. Gotthold.......... 

Wooing Under Difficulties, farce, 1 act, by J. T. Douglass. 

Won at Last, comedy drama, 3 acts, by Wybert Reeve .. 

Whieu will ho Marry, farce, 1 act, by Thomas E. Wilks. 

Wrecked, temperance drama. 2 acts, by A. D. Ames. 

Yankee Duelist, farce, 1 act, by A. Newton Field. 


K. 

r. 

6 

1 

7 

2 

4 

3 

4 

4 

3 

1 

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LIBRARY OF CONGRESS 


New Music! Lates 

A Health t<<> Onr Hostess. A male ! 

Spangler, Jr., Music by F. 0. Wilson. This 0 017 400 930 2 J 

please those who order it, can he sung in cost 
2 >iece. Price 40 cents. 

Here Vas Kin Kecdlc Doi toiler Cial. A capital Dutch song for 
male voices, words by W. II. Spangler, Jr., music by F. 0. Wilson. Can be 
vised as a solo, or solo and chorus, ils sure to please all who purchase it. 

Price 30 cents. 

That Kittle flinch Mustache. —Comic Song and chorus, by James 

M. Dow. Very taking, and a great success. Price 30 cents. 

Fayette Walt*. —For piano or organ, by Will R. Reynolds. Easy 
an t very pretty. Price 25 cents. 

Wait l*oi’ the Turn of the Tide. —As sung in Wilkins’ Drama, 

“The Turn of the Tide.” Arranged as a quartette by Will R. Reynolds. 

Very suitable for exhibitions, as it is easy, and at the same time very pleas¬ 
ing. Price 30 cents. 

My Name Vas Heinrich Hans. —A roaring Dutch Song, words by 
W. II. Spangler, Jr., music by F. O. Wilson. This song has made a great 
hit, and is pronounced by both Press and Public the greatest hit of many 
years. Of moderate difficulty. No Dutch Comedian can afford to be 
without it. Price 30 cents. 

— mm — 

New Plays Just Issued, 

New Years in New Yorh ; or llie Kerman Huron. An original 

Comedy, in two acts, by W. II. Spangler, Jr. 7 male, and 6 females. We 
believe this to be one of the best modern comedies ever written. There i 3 
a g eat variety of characters, each one entirely different from all the oth¬ 
ers. The Dutchman is simply immense, and every speech is the signal 
for a laugh. If you have never read this play, it will pay you to order a 
a copy. 

The Hidden Treasures. A drama in a prologue and four acts by 
Zella Careo, 4 male and 2 female characters. Amateurs will find this "a 
capital play for their use, and if looking for something suitable will not be 
disappointed. Time of performance, 1 and 3-4 hours. 

Wanted a Husband. A Dutch Sketch in 1 scene, by F. L. Cutler, 

2 male, 1 female. Very funny. Time 20 minutes. 

CuIPs Kueli An Ethiopian Sketch, by F. L. Cutler, 2 males, 1 fe¬ 
male. Another of Mr. Culler’s best. Time 15 minutes. 

Old JPoinpey. An Ethiopian Sketch in 1 scene, by F. L. Cutler, l 
male, 1 female. Good character for an aged darkey impersonator. Will 
always please. Time 20 minutes. 

luEiiu£' Hie Census. An original Farce in 1 scene, by Ida M. Bux¬ 
ton, 1 male, 1 female. A very laughable piece, giving the experience of a 
census taker with a deaf old lady. Will furnish ample sport. Scene, a 
plain room : time, about twentv minutes. 

Happy 1 rank's Comic Song aud Rook. Contains a 

choice col lection of original Songs, Jokes, Conundrums, Stump Speeches, 
e ^ C ' k° the above, it also contains one complete Dutch Sketch, 

one Ethiopian farce and t a Negro Sketch, all of which have never before 
been published. Price 15 cents per copy. 

All the above Plays 15 cents each. 

Addrcss > A. D. AMES, Publisher, 

Clyde, Ohio. 





































































